Winston's nascent body of work departs slightly from his influences; artists in the figurative tradition who present the supine form in ways erotic and uncanny. For example, Winston cites Hans Bellmer (1902-1975), a German artist best known for his surreal, explicitly sexualized drawings and sculptures of pubescent female dolls. Bellmer came of age during the debauchery of the Weimar Republic; Winston sources splayed body forms from the erotic ephemera of the internet. But Winston's choices in final execution often imply a reclamation; one that gives an "embodied" quality to otherwise-exploited subjects.

Like many figurative painters of his generation, Winston is also indebted to the recently-departed Lucian Freud (1922-2011), a British painter (and grandson of the famous Austrian psychoanalyst) known for his nude portraits and late-career favoritism of the impasto technique. Marlene Dumas (b. 1953), a South African artist best known for her portrait paintings of erotic and forensic nude photographs, influences Winston's color strategy with her mix of heady hues and ghostly wash.

Most contemporary to Winston is Jenny Saville (b. 1970), a British painter known for her large-scale paintings of nude feminine figures, or smashed segments of flesh. Her work has been compared to that of Freud, and Flemish Baroque painter Rubens (1577-1640). Winston cites Saville as adept in painting luminous qualities of human flesh—but the unflinching medical tone of her subjects contrasts greatly to his bright, "remixed" human hybrids.